EXODUS

Trippy with sci-fi keys atmosphere, Supernova will send you to space....on 5 tracks out of 8. They decided to include a couple of quieter moments, not unlike FM did in the early 80's. Good for me, I like the music that came out of that (too) short period. Exodus brought out the big Oberheims and their Boss Chorus Pedal to create something that could be the leftovers of Rush' Signals, especially in the tasty second track (don't ask me to pronounce it).

What's not to like? Well, atmosphere is not everything and some of the slower songs are quite forgettable; especially track 3 (again, gibberish to me). The singing is in Polish, which is like everybody knows, a beautiful language that rolls on the tongue like dark red cherries (*huge sigh of sarcasm*) . More like a mouthful of gravel.

If you pass over the border-tolerable Polish singing, you have a well-played album full of floaty moments, easy to enjoy melodies and spacey rock moments.

A quirky album that's worth your listen if you dig Signals by Rush or Black Noise by FM and even the more psychedelic side of MGMT. Yes, MGMT.

Me like,

There is no denying that the music on Supernova is extremely harsh, metallic and aggressive for it's time. Because it is. It suits the "theme", as I percieve it, unable as I am to spek nor understand polish, very well. There is little room for relief in the more hard rocking songs. The abrasive edge is sort of frightening and relentless. It kicks and bites and forces it's way into you brain at an enormous, inhuman pace. This might sound unappealing but it is not. The anger or aggression on display is very listenable and intriguing. The vocals, all being in polish, are shouting in your face and comes across as urgent. (Again, I have no idea what the lyrics are all about. The point is simply the emotion it puts forth.)

There are, thankfully, some more gentle tracks that eases the pain, so to speak. Without them this album would be an entirely different, hard to digest entity. The relief they bring is a blessing. Just listen to the sombre, spacey beauty of "Plynacq Marzen Rzeka". That is one great track, if there ever was one. Very 80's in sound, not surprisingly.

Exodus was certainly one of the finest groups to stalk the communist lands in the 70's and 80's. This album, Supernova, is one highlight of the band and era. It shows the power and vision of the progressive rock groups behind the Iron curtain in a very potent and plain speaking way. I think it's a shame that Exodus remains such an anonymous band. The four albums they released are all very competent and enjoyable pieces of musical art. I think it is a great album, for the most part. The more solemn tracks are those I find the most appealing and I find myself retracing my steps, heading back to the Exodus camp for some more of "Jeszcze Czekam", "Piosenka Bez Sensu" and "Niedadawno Tak, Pewnego Dnia". I would also recommend you to grab a piece of "Powstanie Supernowej".

The greatness is certainly glorious but the flaws, such as in "Wielki Wyscig" or "Znów Slysze Wolanie" crashes tthe party and stains the table cloth. While not really awful, these songs are not all that great either. That renders this album, unfortunately, only three stars. The good parts are essential, however.

Now that I have got that out of the way I will proceed to discussing the album. Exodus is one of the finer polish groups of the era. They released quite a few albums in the 70's and 80's, all containing well crafted and potent progressive rock. This effort, being their last, is somewhat different than in their grandest and most progressive phase. The music has alot in common with Eloy in the same period, circa Metromania or Solaris album "Marsbeli Kronikak".

It is an odd mix, though not entirely unique and certainly not entirely bad. There are quite a few things to cherish here. There are enough progressive elements here to please most people, given that one is prepared for something that is also blessed with pop and hardrock elements in that 80's kind of way. Commercial? Well, some of it maybe. At least if that means accessible. But then again the music is often complex and demanding, as progressive music ought to.

The songs are quite average in length. The longest fails to reach the 6 minute mark but one has to discuss whether it is length or what is inside that matters. I, for one and not at all claiming to be the only one, loves lengthy tracks. I am all for a song stretching out into half an hour. If they pull it of, that is. Nothing more tedious than a poor and never ending song. The tracks are all quite concise and manageable. They have kept the songs within their capacity and that is something to applaud.

Hazard opens up very forcefully with the instrumental "Intro". That is powerful statement of heavy progressive that really wakes the listener. It is like they want to say "Listen, we do not kid around!" The next track keeps the direction and makes it all very focused. "A to planeta" is a solemn yet aggressive tune. I love the keyboards on this one. Very effective and certainly very 80's. The most aggressive and metal stricken song must be "Dybuk". The vocalist is screaming his head off and the simple yet effective riff makes it a very forceful track.

The title track starts off nice with a plucked electric guitar, keyboards and drums before going into what one could say is sort of commercial phase. Melodic and moody it is quite alright. Not the best track they ever made made I have a fondness for it. The ending "Nie wiemy nic" beging with an eerie keyboard, drums and bass. High pitched vocals kick in and I feel like I am in a sci-fi horror movie from the era. This is really good stuff.

The overall feeling of the album is one of much aggressiveness and frustration. Now, I have no way of telling if that is correct or no, since I do not speak polish. (Wish I did, though.) The band seems to have something important to say, whether it is openly or simply mentioning it in a more sublime way. The vocals are quite special. It feels like the singer really screams his heart out. There are times that he sings in a more gentle manner but often enough you get the notion that he's pouring his heart out just before the door is kicked in and he's to be taken away. (This is all down to my vivid imagination and pure speculation, of course.)

All in all, I like this album. It has a certain charm and vibrancy that keeps it interesting. The most intriguing part is the very east euopean sound they possess. I love the local experience to shine through in music and it does on Hazard. Give it a spin or two. I am not promising groundbreaking stuff but it is interesting and demanding in it's own right. As a timepiece it is also of interest. Not only by way of displaying the different sounds of prog throughout it's 45 years (or so) of existence but certainly that good music comes from all corners of the world and experiences. Despite my rating I hope someone will pick it up and give it a go. Exodus as a band and the album itself are certainly worth it.

On a final note I would like to add that this is an album worthy of three stars. Good but non essential.

Poland produced (and keeps on producing) some of the best progressive rock around, despite being under oppressive rule. That is impressive. Exodus was one of those bands, entering the stage in the late 70's and produced some really great spacey and symphonic albums. This box set contains all albums released between 1977 and 1984, complete with bonus tracks and oddities.

I will not go into details of the albums, rather I will review them one by one. I will however say this, that The most beautiful dream is a splendid box of amazing symphonic prog. One of the great things about discography boxes is that you get the lot. That greatness can also be a weakness, seeing that not all material is as overly impressive. Boxes compiling the best tracks and oddities can, in some cases, be more even quality-wise but I prefer to be the owner of these kind of boxes. If I get to choose, that is.

In conclusion, you can't go wrong with this box. It is magnificent. Symphonic, spacey prog with that special eastern flavor in all it's glory. I believe that this box is able to please most people who are into symphonic prog. Get it if you can. It is affordable and impressive.

Exodus actually went to the unreal level of waiting for the People's Republic of Poland to begin its course towards change with the advent of Solidarnosc. 33 years later, I get to hear and purchase this phenomenal symphonic jewel. It's never too late to be impressed and feel cheated out of such pleasure for so long. There is a reason why Exodus are labelled the 'Polish Yes' mostly due to lead vocalist Pawel Birula's soaring Polish language voice and Wakeman copycat Wladislaw Komendarek's flowery keyboard display. The bass guitar is delicious but not as overtly trebly as Squire while the drums lean more towards White than Bruford (Who can drum like Bruford?). The percussor's name is Zbiegnew Fyk (it's not pronounced the way you may think, this is a family site!) and the soaring Howe-ish guitar strains are from Andrzej Puczynski who also plays bass, synths and background vocals. His brother Wojciech handles mostly bass and switches to guitar when prompted. They are all accomplished musicians with a clear and concise style that will appeal greatly to many prog fans. The mood spans the gamut from muscular to spacey, keeping things nicely spiced up and refreshing.

The opener "The Chosen Ones" is a romping anthem-like piece with tinges of Saga-like zeal and lots of bright sonics, weird synths noises and a hustling beat. The slippery electric axe solo is a definite highlight. Almost immediately a feel good sense kicks in, best exemplified by a ravishing melody on the delicious "Stary Noe", jangly guitars, high-pitched chorus and trashing cymbals all conspiring to carve utter beauty (an acoustic guitar solo of the finest pedigree). Birula's voice is simply wonderful and highly playful on the potent "A Golden Beam of Sun", Komendarek's synths carving some lovely patterns amid the exacting rhythmic pulse, while Fuczynski's guitar style will remind one of Bacamarte's Mario Neto. An upbeat, happy and empowering experience. The dreamy "The View from the Hill" offers some interesting synthesized sounds, clanging guitars, pulsating bass patterns and a divine vocal once again. It explodes literally into a deep space groove that inspires intently, an acoustic Genesis style that surprises with a Tony Banks-like synth chorus of grandiose beauty. When the mellotron layers onto the melody, the proverbial goose bumps appear. A fitting prep for the highlight epic track, the 19 minute title track suite, perhaps Polish prog's finest moment on record. Tremendous build-up with stinging guitar bites, sharp synths, booming bass rumbling and hard-hitting drums , Exodus ramp up the angst with a colossal crescendo of epic prog, fast , furious and exalting. Birula does some serious vocal calisthenics, giving his best theatrical inspiration (before Marillion even appeared on the scene), the volume pedal guitar work here is simply outstanding, clearly reminiscent of Steve Howe on "Gates of Delirium", allied with the harpsichord-like sounds in the background. The influence is uncanny but not clonish, just a fine piece of music all together. At the 9 minute mark, the ionospheric voice becomes breathtaking in its simplicity and effect. It evolves into another glorious melody, both fragile and confident, Birula really showcasing a serious vocal talent, allied with some simple choir work. Three minutes later, a basic and clean guitar riff kicks in, escorted by a loopy bass motif and they just both take off into the wild blue yonder, fueled by crazy Moog solo. There is an obvious Deep Purple tinge ("Highway Star"?) for a few minutes and then some Wakemanesque ivory play. A whispered vocal and grandiose coda finale ends this sucker on a very high note, the choir goodbye is just fantastic stuff!

First bonus track is the playful "Ponury Pejzaz", armed with a deliriously brilliant vocal and a chorus that will stick in your head forever. Pawel Birula moves from child to adult on the microphone with utter impunity. Imagine a hard lullaby and you will get the musical drift. Then we have an unpretentious ballad "Uspokojenie", straight out of the mid-period Genesis playbook, acoustic guitar carpeting a stunning and operatic vocal, cascading lead guitar lines and basic rhythm foundation. "W Kalendarzu?" puts this remarkable experience to bed, another sensational piece of vocal genius amid clanging rhythmic play, the voice spanning the spectrum, from spry to bold. A very slight hint of Aerosmith's "Dream On" and an Ian Astbury tinge at the end, only makes this reviewer smile as these are clever musicians making attractive symphonic prog.

I cannot recommend this 1980 jewel enough, it caught me by surprise and proved once again that there is immense treasure out there even for the seasoned prog pro I foolishly thought I was. I feel humbled and contented.

5 gorgeous eras

This particular album is a delight, with three bonus tracks to boot. I was skeptical of their symphonic prog claims after hearing the opening "Ci wybrani" which sounds a bit more like discordant avant-garde music influenced by the likes of Zappa and maybe Vanilla Fudge. Good music, but not what I was expecting for sure.

Things change dramatically with the opening strands of "Stary Noe", and the rest of the album shows a band quite skilled and comfortable with making the most of their collective skills. The delicate 12-string guitar and brassy percussion blend beautifully with the ranging alto vocals of Pawel Birula and keyboard sounds of Wladyslaw Komendarek. I've no idea what the Polish lyrics are all about but it really doesn't matter as the band delivers a solid composition with more than a little folk influence.

The nest two tracks "Zloty promien slonca" and "Widok Z góry najwyzszej" are more energetic with plenty of electric guitar and at times a pair of synthesizers, while Birula continues to strum along on acoustic guitar and provide lead vocals (though there are at least two other vocalists on both songs).

The original vinyl release closed with the nearly twenty-minute long "Ten najpiekniejszy dzien", a driving epic with enough tempo shifts to make your head spin while delivering complex electric guitar riffs, lush keyboard forays and plenty of heavy organ passages. This one is truly a classic symphonic rock composition and is worthy of inclusion in just about any collection that represents mid- to late seventies symphonic prog rock.

As far as the bonus CD tracks go, "Ponury Pejzaz" and "W Kalendarzu mojego Zycia" are heavier than most of the rest of the album and sound a bit Krautrock-influenced, while "Uspokojenie" qualifies as a rock ballad with just a bit of electric guitar bite to keep things interesting.

I wish I knew more about these guys and will definitely seek out some of their other recordings. As for this one I recommend it highly to both classic symphonic rock fans as well as students of Soviet-era Polish music. Four stars out of five for sure.

peace

"Ci Wybrani" opens with lots of keyboards then we get a guitar solo before a minute followed by vocals. Not a fan at all of the vocals on this tune. More guitar 3 1/2 minutes in.Thunder and rain end it. "Stary Noe" is much better with the gentle guitar and reserved vocals. Vocal melodies come and go. "Zloty Promien Slonca" is brighter and more uptempo. Synths come to the fore 1 1/2 minutes in. Guitar before 3 minutes.

"Widok Z Gory Najwyzszej" opens with what sounds like theremin or else very spacey synths. Gentle guitar joins in around a minute then vocals. Those spacey synths come and go throughout on this mellow track. "Ten Najpiekniejszy Dzien" is the over 19 minute side long closing suite. It opens with guitar and synths. It's building as drums join in. Vocals after 2 1/2 minutes. It settles with synths before 6 1/2 minutes. Vocals are back before 9 minutes. It picks up with guitar around 14 minutes. Spacey synths a minute later as it settles again. Reserved vocals after 16 minutes. Vocal melodies before 18 1/2 minutes.

I really like the second track through to the fourth song but the opening tune and to some extent the closing track aren't quite up to par. Still a good album that is close to four stars. 3.5 stars for now.

In 1980 they released the first album "The Most Beautiful Day" where they placed a few shorter lyrical tracks and 20-minute great title suite. So, Exodus came out into picture around the same time with Marillion, IQ, Pallas and pendragon. At that time no one claimed a music like neo-progressive even though this album reminds me so (with more symphonic prog, actually).

The main attraction of this album is its Polish language being used as lyrics. It makes the music much joyful compared with if the music is in English. The first track "Ci wybrani" (4:42) serves like a hard rock music with raw drumming sounds. But the next track changes to a bit like "I Believe in Father Christmas" of ELP, especially on the way acoustic guitar is used nicely here. "Zloty promien slonca" (5:15)with its long sustain multi-layered keyboards makes a nice symphonic prog music. "Widok Z góry najwyzszej" (5:45) explores Hackettian guitar with keyboard solo. The music flows mellow with keyboard and nice melody while guitar fills dominate the rhythm section. The attention is probably on the epic "Ten najpiekniejszy dzien" which consumes 19:20 minutes of duration. This epic makes this album truly an excellent one with its energy, dynamics and multi-structure of the composition. You might find the music in a similar vein with Steve Hackett's early works like "Please Don't Touch" or "Voyage of The Acolyte" with some flavors of Genesis. Even though influences from other bands are unavoidable, but the composition is really excellent. There are many music breaks in symphonic style using long sustain keyboard work.

Overall, I conclude that this is an excellent addition to any prog music collection. Polish rules! Keep on proggin' .brothers!!

Peace on earth and mercy mild - GW (i-Rock! Music Community)

For fiveteen track only two are good - Intro and A to planeta. It contains remains of old prog-symphonic style showed for example at The Most Beautiful Day. And rest... Is simply weak, or for fans of synth pop. Well, I'm not, so I didn't like it at all. Only Anioł stróż was over the rest.

Lyris are pretty good on Hazard, but music is awful (exept two first track). Well, maybe good that band splited two years afrter recording Hazard in 1983. They didn't have opportunity to get more worst... 1,5 stars.